Antipode. Why didn’t Natalya Dmitrievna and her husband like Chatsky’s advice? In what works of Russian writers are antipodean heroes depicted and in what ways can these heroes be compared with the participants in this scene of “Woe from Wit”? Unified State Exam in Literature Anti Heroes

Chatsky and Molchalin as antipodal heroes. (Based on the comedy by A.S. Griboyedov “Woe from Wit”)

The comedy "Woe from Wit" by Alexander Sergeevich Griboyedov became an event in Russian literature at the beginning of the 19th century and was a rare example of its accusatory, satirical direction.

The main character of the comedy is Alexander Andreevich Chatsky. In the image of Chatsky, Griboedov, for the first time in Russian literature, showed in full growth a “new” man, inspired by lofty ideas, raising a rebellion against a reactionary society in defense of freedom, humanity, intelligence and culture of man, inquisitively searching for new, more perfect forms of life, nurturing a new morality, developing a new view of the world and human relations. This is the image of a brave and irreconcilable fighter for a cause, for ideas, for truth, acutely confronted with a society of reactionaries and serf owners, slandered and insulted by this society, but not humbled before it.

It was Chatsky who embodied the features of such a “new” person. In Famus society he feels lonely. Chatsky, the son of Famusov’s late friend, grew up and was raised with Sophia. Then he stopped visiting their house. Sophia will say: Yes, it’s true that we were brought up and grew up with Chatsky; The habit of being together every day inseparably tied us together with childhood friendship; but then He moved out, he seemed bored with us, and rarely visited our house; Then again he pretended to be in love. Demanding and distressed!!.

Sharp, smart, eloquent, Especially happy with friends, He thought highly of himself... The desire to wander attacked him, Ah! If someone loves someone, Why bother searching and traveling so far? First, Chatsky left Moscow for St. Petersburg. There he apparently took up literary activity. Famusov says about him: “He’s a smart guy, and he writes and translates nicely.”

Then he entered the service, “had a connection with the ministers, then a break.” During his three years of absence from Moscow, Alexander Andreevich managed to serve, which he recalled at the ball with Platon Mikhailovich: Did I know you in the regiment? only morning: your foot is in the stirrup And you are rushing around on a greyhound stallion; The autumn wind blows, either from the front or from the rear.

After his retirement, he went to his estate and probably tried to alleviate the lot of the serfs. It’s not for nothing that Famusov makes him a suggestion: “In honor, brother. Don’t mismanage.”

Then he was treated in acidic waters, that is, he visited the Caucasus and then went abroad.

This noble image in Griboyedov’s comedy is opposed by the image of Molchalin. If Chatsky is the son of a noble Moscow nobleman and he was brought up in his house, then Molchalin is a man of lower origin. Out of mercy, he is “warmed up” by Famusov, although, of course, he “needs” him. Molchalin has many business qualities and is quite educated.

Famusov about Molchalin: Bezrodny was warmed up and brought into my family. He gave the rank of assessor and took him as secretary: Transferred to Moscow through my assistance; And if it weren’t for me, you would be smoking in Tver.

The clash between the Chatskys and Molchalins is a conflict between the bearers of the opposite qualities of the noble youth of that time. Molchalin, unlike Chatsky, an intelligent and noble man, is smart and mean. The main qualities of his nature are baseness and meanness, which he skillfully hides. He is dumb only because he is “in low ranks.” This is a calculating player who will sell anything and anyone for the sake of his well-being. What cynicism and baseness must one go to in order to take advantage of a rich man's daughter falling in love with himself! Molchalin needs Sophia because she can “put in a good word.”

In his views on social order, on upbringing and education, civic duty and service, national culture, in remembering the meaning and purpose of life, Chatsky opposes the society of ignoramuses and serf owners. Gossip and slander are the main weapons of this society’s fight against people like Chatsky. An accurate, free, fiery word is Chatsky’s weapon. This is a powerful, truly devastating weapon. Chatsky's monologue "Who are the judges?" is noteworthy. Chatsky passionately denounces socially recognized authorities. He feels like a man of “the present century.” In his monologue, Chatsky speaks on behalf of the new generation: Where, show us the fatherland of the fathers, Whom we should take as models? Aren't these the ones who are rich in robbery? Chatsky is a citizen and wants to benefit the Motherland through his service. He sees service as a civic duty. Molchalin’s goal is not to serve, but to be served.

Alexey Stepanych sacredly fulfills his father’s behest: My father bequeathed to me: First, to please all people without exception - the Master, where I happen to live, the Chief, with whom I will serve, his servant, who cleans dresses, the doorman, the janitor, to avoid evil, To the janitor's dog, so that it is affectionate.

So he tries to curry favor.

Chatsky sharply opposes the idle and empty life, the insignificant interests of Famusovsky. What new will Moscow show me? Yesterday there was a ball, and tomorrow there will be two.

He made a match - he succeeded, but he missed, All the same sense, and the same poems in the albums.

Well, Molchalin manages to win awards and live a fun life. At the same time, most people have to be mean, hypocritical, and servile. At this price he has already received 3 awards.

Alexander Andreevich, a supporter of enlightenment, speaks with disdain about the state of enlightenment and education in Russia: They are busy recruiting regiments of teachers, in larger numbers, at a cheaper price.

He protests against the worship of the Moscow nobility to everything foreign: In that room there is an insignificant meeting: A Frenchman from Bordeaux, pushing his chest, Gathered around him a clan of the veche And told how he was preparing for the journey To Russia, to the barbarians, with fear and tears; I arrived and found that there was no end to the caresses; I didn’t meet a Russian sound or a Russian face: as if in the Fatherland, with friends; Its own province.

Since Molchalin is part of Famusov’s circle, he is also characterized by a contemptuous attitude towards his native Russian culture and language. But one is guided in his life by high principles, he is a man of duty and honor, an opponent of sycophancy.

The other lives according to the opposite principles. It is Molchalin who advises Chatsky: Tatyana Yuryevna!!! Well-known, - moreover, Officials and officials - All her friends and all her relatives; You should go to Tatyana Yuryevna at least once.

Chatsky’s sincerity and the nobility of his feelings are especially captivating. He says about his love for Sophia: It’s barely light and you’re already on your feet! And I'm at your feet.

Molchalin combines his dumbness with real meanness when he loves the daughter of his boss by virtue of his position: And so I take the form of a lover to please the daughter of such a person... Molchalin needs Sophia because she can “put in a good word.”

For the Famusovs and Molchalins, their intelligence brings only benefits. Chatsky suffers from his progressive, freedom-loving mind. It is no coincidence that the Famus society declares Chatsky insane. According to Chatsky, the “past century” is characterized by universal fear, humility and servility - after all, “he was famous for whose neck bent more often!” “The present century,” according to Chatsky, condemns obedience and servility. He still naively believes in this.

Later, as the play progresses, he will understand that “The silent ones dominate the world”, that “the meanest traits of the past” still have strong roots in a society based on autocracy and serfdom.

Molchalin does not suffer a fiasco in the eyes of Famusov completely by accident. He is a “master of service” and will find himself a new patron. If Chatsky, as Herzen put it, “goes the direct route to hard labor,” then Molchalin will arrange his affairs and his career in any way. And yet, history has proven that victory will remain with such true patriots as Chatsky.

Bibliography

To prepare this work, materials were used from the site http://www.coolsoch.ru/

Chatsky and Molchalin as antipodal heroes. The first act (appearances 1-6) shows the relationship between Sophia and Molchalin before Chatsky’s arrival. This is an exposition of a love game, but even now the author points out the insincerity of Molchalin’s relationship with Sophia, shows this love ironically. This is evident from the first remark (“Lisanka is sleeping, hanging from a chair,” while from the young lady’s room “you can hear a piano with a flute”), and from Lisa’s words about Aunt Sophia, and her caustic remarks (“Ah! Damn Cupid!”). This also shows Sophia’s attitude towards Chatsky:

He chats, jokes, it’s funny to me;

You can share laughter with everyone -

she says, not believing in his love. “Pretended to be in love” - this is how Sophia defines his feelings.

And then... he appears! “Oster, smart, eloquent,” he “attacks” Sophia, and then not very flatteringly “lists” her relatives. A social conflict is emerging, which Griboyedov himself defined as follows: Chatsky “in conflict with the society surrounding him.” But it’s not for nothing that the author uses the popular form of “contradiction”, because Chatsky is in conflict not only with the “light”, but also with the people, and with the past, and with himself.

He is lonely and with such a character is doomed to loneliness. Chatsky is pleased with himself, with his speeches, and moves with pleasure from one subject of ridicule to another: “Ah! Let’s move on to education!” He constantly exclaims: “Well, what do you want, father?”, “And this one, what’s his name?..”, “And three of the tabloid people?”, “And that one is consumptive?...” - as if this is terribly important, after three something years. In general, throughout the entire play, Chatsky falls silent, takes a “minute” break, thinking about the words of his interlocutor, only twice - upon his first appearance in the house and in the last monologue. And then he explains: “The mind is not in harmony with the heart,” that is, the advanced ideas that he speaks so beautifully about do not form the basis of his actions, which means that everything he says is a rational impulse that does not come from hearts, therefore, far-fetched.

“Everything he says is very smart! But who is he telling this to? - wrote Pushkin. Indeed, the key remark in the third act reads: “He looks around, everyone is spinning in the waltz with the greatest zeal. The old men scattered to the card tables.” He is left alone. Who is he talking to? Maybe for yourself? Without knowing Tohya, he talks to himself, trying to settle the battle between “heart” and “mind”. Having drawn up a life scheme in his mind, he tries to “fit” life to it, to break its laws, which is why she turns away from him, and the love conflict is not forgotten. Sophia also does not accept his rationalism. And if we agree with Blok that “Woe from Wit” is a work “...symbolic, in the true sense of the word,” then Sophia is a symbol of Russia, where Chatsky is a stranger, because “he is smart in a different way... he is not smart in Russian. In a different way. In a foreign way."

Chatsky's monologues are close in their ideological orientation to the slogans of the Decembrists. He denounces the servility, cruelty of the serf owners, meanness - this is what Griboyedov agrees with him and the Decembrists. But he cannot approve of their methods, the same patterns of life, only not just one, but the whole society. Therefore, the culmination of all conflicts is Chatsky’s accusation of madness. Thus, he is denied the right to be a citizen, the highest good, according to the Decembrist theory, because one of the definitions of a human citizen is a “sound mind” (Muravyov); the right to be respected and loved. It is precisely for his rationalistic approach to life, the pursuit of his goal by “low” methods that Griboyedov calls all the heroes of the comedy “fools.”

But here is Famusov’s outwardly inconspicuous, “rootless” secretary - Molchalin. In his person, Griboedov created an exceptionally expressive generalized image of a scoundrel and a cynic, a “low-worshipper and a businessman,” still a petty scoundrel who, however, will be able to reach “known degrees.” The entire lackey “philosophy of life” of this bureaucrat and sycophant, who does not dare to “have his own judgment,” is revealed in his famous confession:

My father bequeathed to me:

First, please all people without exception -

The owner, where he will live,

The boss with whom I will serve,

To his servant who cleans dresses,

Doorman, janitor, to avoid evil,

To the janitor's dog, so that it is affectionate.

And yet it is not Chatsky, but Molchalin - a man of the future, a man of the new, Nicholas era. We will meet his prototype in the second part of Leo Tolstoy’s story “The Two Hussars”, we will see his “relatives” in Bulgakov’s phantasmagoria, where he will take the name Sharikov, he will infiltrate the Council of People’s Deputies and, hiding behind a party card, will live and multiply.

By the way, Molchalin is not at all as faceless as it seems at first glance. In Sophia’s eyes, he is illuminated by her love, he is “the enemy of insolence.”

Chatsky speaks passionately, shouting the famous: “Carriage for me, carriage!” Everyone is on stage: Chatsky, Sophia, Lisa, Famusov, a crowd of servants with candles, and the author’s remark in small letters: “The same, except Molchalin.” Our hero is hiding, waiting in the wings. And he will also appear in Gogol, Tolstoy, Dostoevsky, Sologub, Andreev, Platonov, Bulgakov... He is immortal.

PHENOMENON 6

Chatsky, Natalya Dmitrievna, Platon Mikhailovich

Natalya Dmitrievna

Here is my Platon Mikhailych.

Chatsky

Old friend, we have known each other for a long time, this is fate!

Platon Mikhailovich

Hello, Chatsky, brother!

Chatsky

Dear Plato, nice,

A certificate of praise for you: you behave properly.

Platon Mikhailovich

As you can see, brother:

Moscow resident and married.

Chatsky

Have you forgotten the noise of the camp, comrades and brothers?

Calm and lazy?

Platon Mikhailovich

No, there are still things to do:

I play a duet on the flute

A-molny...

Chatsky

What did you say five years ago?

Well, constant taste! in husbands everything is more precious!

Platon Mikhailovich

Brother, if you get married, then remember me!

Out of boredom you will whistle the same thing over and over again.

Chatsky

Boredom! How? are you paying her tribute?

Natalya Dmitrievna

My Platon Mikhailych is inclined to do different things,

Which are not there now - for exercises and shows,

To the playpen...sometimes he misses mornings.

Chatsky

And who, dear friend, tells you to be idle?

They will give it to a regiment or squadron. Are you the chief or the headquarters? *

Natalya Dmitrievna

Platon Mikhailych is in very poor health.

Chatsky

My health is weak! How long ago?

Natalya Dmitrievna

All rumatism and headaches.

Chatsky

More movement. To the village, to a warm region.

Be on horseback more often. The village is paradise in summer.

Natalya Dmitrievna

Platon Mikhailych loves the city,

Moscow; Why will he waste his days in the wilderness!

Chatsky

Moscow and the city... You're an eccentric!

Do you remember before?

Platon Mikhailovich

Yes, brother, it's not like that anymore...

A.S. Griboyedov, "Woe from Wit."

C1. Why didn’t Natalya Dmitrievna and her husband like Chatsky’s advice?

Platon Mikhailovich and Natalya Dmitrievna are unpleasant to hear Chatsky’s advice. On the one hand, Platon Mikhailovich is an old friend of the protagonist; he is embarrassed by the presence of his former comrade because he has changed too much. In his younger years, Gorich was a cheerful, active and lively person, but now, according to Chatsky, he is “calm and lazy.” Having fallen under his wife's heel, he turned into a decrepit wreck. On the other hand, Natalya Dmitrievna takes care of her husband, invents illnesses for him (“all rumatism and headaches”), activities that she does not like, a way of life that is alien to him (“Platon Mikhalych loves the city”). Such a husband is easy to command. The meeting of Platon Mikhailovich with Chatsky is like a meeting with the past - with “the noise of the camp, comrades and brothers,” and Natalya Dmitrievna is very afraid that her husband will leave her power.

C2. In what works of Russian writers are antipodean heroes depicted and in what ways can these heroes be compared with the participants in this scene of “Woe from Wit”?

An antipode is a hero of a literary work, opposed to some other hero in beliefs, views and tastes. L.N. resorted to depicting the antipodes in their works. Tolstoy, A.S. Pushkin, F. Dostoevsky, M. Lermontov and many other writers.

In the episode proposed for analysis, the antipodes are Chatsky and Gorich. They have different attitudes to life, different understandings of family happiness. Chatsky is disgusted by an idle life, he craves some kind of activity. In the novel “The Captain's Daughter”, for example, A.S. Pushkin also contrasts two heroes - Grinev and Shvabrin. Grinev is a conscientious, noble and honest person. Shvabrin, in contrast, is capable of meanness and low acts: he envies Grinev, ridicules him, betrays his military duty and swears allegiance to the impostor Pugachev.

In the novel “Hero of Our Time,” Lermontov contrasts Pechorin and Grushnitsky. Grushnitsky is unbearable for his falseness and posturing; he always tries to imitate someone. Taking revenge on Pechorin, he commits not feats, but meanness. The duel scene reveals the honesty, generosity of Pechorin and the base qualities of Grushnitsky. Even before death, he grimaces and lies, and petty pride turns out to be stronger for him than nobility.

Thus, antipodean heroes are always important in a literary work: it is their opposition that helps to identify the author’s position.

Vorobyova Ekaterina, 11 A class 2013

Antipode

A map of the world, where each point is superimposed with its antipode.

In mathematics antipodes- points opposite to the center on the sphere. For a ball, such points are called diametrically opposite. It can also designate any second object that is completely opposite to the first (from the chosen point of view, coordinate system).

In art

• Alice (a character from L. Carroll's fairy tale), falling down the rabbit hole, was afraid that she would end up in the land of the antipodes, where everything was upside down and she would have to stand on her head.
• Vladimir Vysotsky wrote “Song of the Antipodes” for the music album “Alice in Wonderland” based on the fairy tale of the same name by L. Carroll.

Notes

Wikimedia Foundation. 2010.

• Dutch Gambit
• MD5

See what "Antipode" is in other dictionaries:

antipode- antipode, m. [Greek. antipodes – feet facing]. 1. plural only Inhabitants of two opposite points of the earth, two opposite ends of one of the diameters of the globe (geographical). 2. to whom what or whom what. A man of opposites... Dictionary of foreign words of the Russian language

ANTIPODE- ANTIPODE, antipode, husband. (Greek antipodes facing feet). 1. plural only Inhabitants of two opposite points of the earth, two opposite ends of one of the diameters of the globe (geographical). 2. to whom what or whom what. Human… … Ushakov's Explanatory Dictionary

antipode- antithesis, (diametrically) opposite point, double, enantiomer, opposite, pole. Ant. type Dictionary of Russian synonyms. antipode see opposite 1 Dictionary of synonyms of the Russian language. Pract... Synonym dictionary

antipode- a, m. antipode m. Circus role is the art of juggling legs. CIR. During my apprenticeship, the Antipodes performed, as a rule, with two acts. They balanced a ladder on their feet with a partner and performed the actual antipode. Meetings 57… Historical Dictionary of Gallicisms of the Russian Language

ANTIPODE- ANTIPODE, huh, husband. 1. A person who is the opposite of someone. according to beliefs, properties, tastes (book). 2. The one or those who live in diametrically opposite points of the globe (special). | adj. antipodal, oh, oh. Ozhegov's explanatory dictionary. S.I. Ozhegov... Ozhegov's Explanatory Dictionary

antipode- ah, m., book. (whose or to whom) A person with opposite l. views, beliefs, tastes, character traits. By nature, I am the opposite of Pechorin (Grigorovich). Synonyms: opposite Etymology: From Greek antipodes ‘located... ... Popular dictionary of the Russian language

antipode- (foreigner) opponent in views, morals, customs Wed. The cousin was not at all like this before, but the former and the present are two opposites, they are completely antipodes. V. Krylov. Destroyed house. 1, 3. Wed. Your eyes are drooping, and I’m still at work... ... Michelson's Large Explanatory and Phraseological Dictionary

Antipode- Antipode (foreign) enemy in views, morals, customs. Wed. The cousin was not at all like this before, but the former and the present are two opposites, they are completely antipodes. V. Krylov. Destroyed house. 1, 3. Wed. Your eyes are drooping... ... Michelson's Large Explanatory and Phraseological Dictionary (original spelling)

Antipode- m. 1. That which is the opposite of something. 2. see also. antipodes II Explanatory Dictionary of Efremova. T. F. Efremova. 2000... Modern explanatory dictionary of the Russian language by Efremova

antipode- 1. antipode, antipode, antipode, antipode, antipode, antipode, antipode, antipode, antipode, antipode, antipode, antipode 2. antipode, antipode, antipode, antipode, antipode, antipode, antipode, antipode, antipode, antipode, antipode, ... ... Forms of words

Books

• Antipode-realism. Prose and poetry, Konstantin Marino. "Antipode-realism". Issue 3. Prose and poetry. A combined collection of works in the genre of antipode-realism. The book includes prose in the genres of psychological fiction, mysticism, cyberpunk, fantasy...

Russian literature has given us a cavalcade of both positive and negative characters. We decided to remember the second group. Beware, spoilers.

20. Alexey Molchalin (Alexander Griboedov, “Woe from Wit”)

Molchalin is the hero “about nothing”, Famusov’s secretary. He is faithful to his father’s behest: “to please all people without exception - the owner, the boss, his servant, the janitor’s dog.”

In a conversation with Chatsky, he sets out his life principles, which consist in the fact that “at my age I should not dare to have my own judgment.”

Molchalin is sure that you need to think and act as is customary in “Famus” society, otherwise people will gossip about you, and, as you know, “evil tongues are worse than pistols.”

He despises Sophia, but in order to please Famusov, he is ready to sit with her all night long, playing the role of a lover.

19. Grushnitsky (Mikhail Lermontov, “Hero of Our Time”)

Grushnitsky has no name in Lermontov's story. He is the “double” of the main character - Pechorin. According to Lermontov’s description, Grushnitsky is “... one of those people who have ready-made pompous phrases for all occasions, who are not touched by simply beautiful things and who are importantly draped in extraordinary feelings, sublime passions and exceptional suffering. Producing an effect is their pleasure...”

Grushnitsky loves pathos very much. There is not an ounce of sincerity in him. Grushnitsky is in love with Princess Mary, and at first she responds to him with special attention, but then falls in love with Pechorin.

The matter ends in a duel. Grushnitsky is so low that he conspires with his friends and they do not load Pechorin’s pistol. The hero cannot forgive such outright meanness. He reloads the pistol and kills Grushnitsky.

18. Afanasy Totsky (Fyodor Dostoevsky, “The Idiot”)

Afanasy Totsky, having taken Nastya Barashkova, the daughter of a deceased neighbor, as his upbringing and dependent, eventually “became close to her,” developing a suicidal complex in the girl and indirectly becoming one of the culprits of her death.

Extremely averse to the female sex, at the age of 55 Totsky decided to connect his life with the daughter of General Epanchin Alexandra, deciding to marry Nastasya to Ganya Ivolgin. However, neither one nor the other case burned out. As a result, Totsky “was captivated by a visiting Frenchwoman, a marquise and a legitimist.”

17. Alena Ivanovna (Fyodor Dostoevsky, “Crime and Punishment”)

The old pawnbroker is a character who has become a household name. Even those who have not read Dostoevsky’s novel have heard about it. Alena Ivanovna, by today’s standards, is not that old, she is “about 60 years old,” but the author describes her like this: “... a dry old woman with sharp and angry eyes with a small pointed nose... Her blond, slightly gray hair was greasy with oil. Some kind of flannel rag was wrapped around her thin and long neck, similar to a chicken leg...”

The old woman pawnbroker is engaged in usury and makes money from people's misfortune. She takes valuable things at huge interest rates, bullies her younger sister Lizaveta, and beats her.

16. Arkady Svidrigailov (Fyodor Dostoevsky, “Crime and Punishment”)

Svidrigailov is one of Raskolnikov’s doubles in Dostoevsky’s novel, a widower, at one time he was bought out of prison by his wife, he lived in the village for 7 years. A cynical and depraved person. On his conscience is the suicide of a servant, a 14-year-old girl, and possibly the poisoning of his wife.

Due to Svidrigailov's harassment, Raskolnikov's sister lost her job. Having learned that Raskolnikov is a murderer, Luzhin blackmails Dunya. The girl shoots at Svidrigailov and misses.

Svidrigailov is an ideological scoundrel, he does not experience moral torment and experiences “world boredom,” eternity seems to him like a “bathhouse with spiders.” As a result, he commits suicide with a revolver shot.

15. Kabanikha (Alexander Ostrovsky, “The Thunderstorm”)

In the image of Kabanikha, one of the central characters of the play “The Thunderstorm,” Ostrovsky reflected the outgoing patriarchal, strict archaism. Kabanova Marfa Ignatievna, “a rich merchant’s wife, widow,” mother-in-law of Katerina, mother of Tikhon and Varvara.

Kabanikha is very domineering and strong, she is religious, but more outwardly, since she does not believe in forgiveness or mercy. She is as practical as possible and lives by earthly interests.

Kabanikha is sure that the family way of life can be maintained only through fear and orders: “After all, out of love your parents are strict with you, out of love they scold you, everyone thinks to teach you good.” She perceives the departure of the old order as a personal tragedy: “This is how the old times come to be... What will happen, how the elders will die... I don’t know.”

14. Lady (Ivan Turgenev, “Mumu”)

We all know the sad story about how Gerasim drowned Mumu, but not everyone remembers why he did it, but he did it because a despotic lady ordered him to do so.

The same landowner had previously given the washerwoman Tatyana, with whom Gerasim was in love, to the drunken shoemaker Capiton, which ruined both of them.
The lady, at her own discretion, decides the fate of her serfs, without regard at all to their wishes, and sometimes even to common sense.

13. Footman Yasha (Anton Chekhov, “The Cherry Orchard”)

The footman Yasha in Anton Chekhov's play “The Cherry Orchard” is an unpleasant character. He openly worships everything foreign, while he is extremely ignorant, rude and even boorish. When his mother comes to him from the village and waits for him in the people’s room all day, Yasha dismissively declares: “It’s really necessary, she could come tomorrow.”

Yasha tries to behave decently in public, tries to seem educated and well-mannered, but at the same time alone with Firs he says to the old man: “I'm tired of you, grandfather. I wish you would die soon.”

Yasha is very proud that he lived abroad. With his foreign polish, he wins the heart of the maid Dunyasha, but uses her location for his own benefit. After the sale of the estate, the footman persuades Ranevskaya to take him with her to Paris again. It is impossible for him to stay in Russia: “the country is uneducated, the people are immoral, and, moreover, boredom...”.

12. Pavel Smerdyakov (Fyodor Dostoevsky, “The Brothers Karamazov”)

Smerdyakov is a character with a telling surname, rumored to be the illegitimate son of Fyodor Karrmazov from the city holy fool Lizaveta Smerdyashchaya. The surname Smerdyakov was given to him by Fyodor Pavlovich in honor of his mother.

Smerdyakov serves as a cook in Karamazov’s house, and he cooks, apparently, quite well. However, this is a “foulbrood man.” This is evidenced at least by Smerdyakov’s reasoning about history: “In the twelfth year there was a great invasion of Russia by Emperor Napoleon of France the First, and it would be good if these same French had conquered us then, a smart nation would have conquered a very stupid one and annexed it to itself. There would even be completely different orders.”

Smerdyakov is the killer of Karamazov's father.

11. Pyotr Luzhin (Fyodor Dostoevsky, “Crime and Punishment”)

Luzhin is another one of Rodion Raskolnikov’s doubles, a business man of 45 years old, “with a cautious and grumpy physiognomy.”

Having made it “from rags to riches,” Luzhin is proud of his pseudo-education and behaves arrogantly and primly. Having proposed to Dunya, he anticipates that she will be grateful to him all her life for the fact that he “brought her into the public eye.”

He also wooes Duna out of convenience, believing that she will be useful to him for his career. Luzhin hates Raskolnikov because he opposes his alliance with Dunya. Luzhin puts one hundred rubles in Sonya Marmeladova's pocket at her father's funeral, accusing her of theft.

10. Kirila Troekurov (Alexander Pushkin, “Dubrovsky”)

Troekurov is an example of a Russian master spoiled by his power and environment. He spends his time in idleness, drunkenness, and voluptuousness. Troekurov sincerely believes in his impunity and limitless possibilities (“This is the power to take away property without any right”).

The master loves his daughter Masha, but marries her to an old man she doesn’t love. Troekurov's serfs are similar to their master - Troekurov's hound is insolent to Dubrovsky Sr. - and thereby quarrels old friends.

9. Sergei Talberg (Mikhail Bulgakov, “The White Guard”)

Sergei Talberg is the husband of Elena Turbina, a traitor and an opportunist. He easily changes his principles and beliefs, without much effort or remorse. Talberg is always where it is easier to live, so he runs abroad. He leaves his family and friends. Even Talberg’s eyes (which, as we know, are the “mirror of the soul”) are “two-story”; he is the complete opposite of Turbin.

Thalberg was the first to wear the red bandage at the military school in March 1917 and, as a member of the military committee, arrested the famous General Petrov.

8. Alexey Shvabrin (Alexander Pushkin, “The Captain's Daughter”)

Shvabrin is the antipode of the main character of Pushkin’s story “The Captain’s Daughter” by Pyotr Grinev. He was exiled to the Belogorsk fortress for murder in a duel. Shvabrin is undoubtedly smart, but at the same time he is cunning, impudent, cynical, and mocking. Having received Masha Mironova’s refusal, he spreads dirty rumors about her, wounds him in the back in a duel with Grinev, goes over to Pugachev’s side, and, having been captured by government troops, spreads rumors that Grinev is a traitor. In general, he is a rubbish person.

7. Vasilisa Kostyleva (Maxim Gorky, “At the Depths”)

In Gorky's play "At the Bottom" everything is sad and sad. This atmosphere is diligently maintained by the owners of the shelter where the action takes place - the Kostylevs. The husband is a nasty, cowardly and greedy old man, Vasilisa’s wife is a calculating, resourceful opportunist who forces her lover Vaska Pepel to steal for her sake. When she finds out that he himself is in love with her sister, he promises to give her up in exchange for killing her husband.

6. Mazepa (Alexander Pushkin, “Poltava”)

Mazepa is a historical character, but if in history Mazepa’s role is ambiguous, then in Pushkin’s poem Mazepa is definitely a negative character. Mazepa appears in the poem as an absolutely immoral, dishonest, vindictive, evil person, as a treacherous hypocrite for whom nothing is sacred (he “does not know the sacred,” “does not remember charity”), a person accustomed to achieving his goal at any cost.

The seducer of his young goddaughter Maria, he puts her father Kochubey to public execution and - already sentenced to death - subjects her to cruel torture in order to find out where he hid his treasures. Without equivocation, Pushkin also denounces Mazepa’s political activity, which is determined only by the lust for power and the thirst for revenge on Peter.

5. Foma Opiskin (Fyodor Dostoevsky, “The Village of Stepanchikovo and Its Inhabitants”)

Foma Opiskin is an extremely negative character. A hanger-on, a hypocrite, a liar. He diligently pretends to be pious and educated, tells everyone about his supposedly ascetic experience and sparkles with quotes from books...

When he gains power, he shows his true nature. “A low soul, having come out from under oppression, oppresses itself. Thomas was oppressed - and he immediately felt the need to oppress himself; They broke down over him - and he himself began to break down over others. He was a jester and immediately felt the need to have his own jesters. He boasted to the point of absurdity, broke down to the point of impossibility, demanded bird's milk, tyrannized beyond measure, and it came to the point that good people, not yet having witnessed all these tricks, but listening only to stories, considered all this to be a miracle, an obsession, were baptized and spat..."

4. Viktor Komarovsky (Boris Pasternak, Doctor Zhivago)

Lawyer Komarovsky is a negative character in Boris Pasternak's novel Doctor Zhivago. In the destinies of the main characters - Zhivago and Lara, Komarovsky is an “evil genius” and a “gray eminence”. He is guilty of the ruin of the Zhivago family and the death of the protagonist's father; he cohabits with Lara's mother and Lara herself. Finally, Komarovsky tricks Zhivago into separating him from his wife. Komarovsky is smart, calculating, greedy, cynical. Overall, a bad person. He understands this himself, but this suits him quite well.

3. Judushka Golovlev (Mikhail Saltykov-Shchedrin, “The Golovlev Lords”)

Porfiry Vladimirovich Golovlev, nicknamed Judas and Blood Drinker, is “the last representative of an escapist family.” He is hypocritical, greedy, cowardly, calculating. He spends his life in endless slander and litigation, drives his son to suicide, and at the same time imitates extreme religiosity, reading prayers “without the participation of the heart.”

Toward the end of his dark life, Golovlev gets drunk and runs wild, and goes into the March snowstorm. In the morning, his frozen corpse is found.

2. Andriy (Nikolai Gogol, “Taras Bulba”)

Andriy is the youngest son of Taras Bulba, the hero of the story of the same name by Nikolai Vasilyevich Gogol. Andriy, as Gogol writes, from early youth began to feel the “need for love.” This need fails him. He falls in love with the lady, betrays his homeland, his friends, and his father. Andriy admits: “Who said that my homeland is Ukraine? Who gave it to me in my homeland? The Fatherland is what our soul is looking for, what is dearer to it than anything else. My fatherland is you!... and I will sell, give away, and destroy everything that I have for such a fatherland!”
Andriy is a traitor. He is killed by his own father.

1. Fyodor Karamazov (Fyodor Dostoevsky, “The Brothers Karamazov”)

He is voluptuous, greedy, envious, stupid. By maturity, he became flabby, began to drink a lot, opened several taverns, made many fellow countrymen his debtors... He began to compete with his eldest son Dmitry for the heart of Grushenka Svetlova, which paved the way for the crime - Karamazov was killed by his illegitimate son Pyotr Smerdyakov.